This dissertation aims to provide a comprehensive study of Francesco Salviati’s portraits, analyzed within a chronological framework. Traditional attributions are re-examined and recent discoveries included to establish a reliable core group of the artist’s portraits, one exhibiting a stylistic coherence. Salviati’s activities as a portraitist are placed in the historical, political, cultural and artistic context of his time, with particular emphasis on patronage. Versatile and well-connected, Francesco served a number of top-ranking patrons of his time, including Cardinal Giovanni Salviati, Pier Luigi and Alessandro Farnese (in Rome), Duke Cosimo I de’ Medici (in Florence), the Grimani family (in Venice), King Henri II, and the Cardinal of Lorraine in France. This study intends to navigate portraiture’s role in the relationships between the courtier-artist and his princely patrons. Characterized by innovation and experimentation, Salviati’s portraits vary in composition, media and supports. As one of the earliest artists to produce portrait miniatures in Italy, Francesco evidently introduced the genre to Cosimo I de’ Medici’s court to create an aura of a royal court equal to that in France and England. His experiments with the use of various stone supports for portraits are discussed in relation to his status as the leading painter in Rome after the death of Sebastiano del Piombo in 1547. Lastly, the artist’s career as a book illustrator is explored to shed light on his interactions with well-known literati of his time, such as Pietro Aretino, Anton Francesco Doni and Giambattista Gelli. The designs Salviati provided for their author portraits are not only testimony to their acquaintance, but also evidence of the artist’s participation in their intellectual communities. / Thesis (Ph.D, Art History) -- Queen's University, 2013-04-29 15:59:52.863

Orientador: Milton Jose de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2019-01-04T15:17:55Z (GMT). No. of bitstreams: 1 Rodrigues_UbirajaraAlencar_M.pdf: 90714835 bytes, checksum: 3a881fbca943a7ba06c7c2e7fcb234a1 (MD5) Previous issue date: 2008 / Resumo: Esse texto é uma introdução ao livro "Hypnerotomachia Poliphili", de autoria do dominicano Francesco Colonna, publicado em 1499 pelo editor Aldo Manuzio. É também uma introdução às técnicas da impressão xilográfica utilizadas nas ilustrações desse livro, e à história da tipografia veneziana em fins do século XV. A concepção gráfica e visual desse livro famoso são modelares e persistem até hoje / Abstract: This is an introduction to the book "Hypnerotomachia Poliphili", from dominican Francesco Colonna, and published by Aldo Manuzio, in 1499. It's also na introduction to the techniques of xylography printing used to illustrate this book, and the history of venetian typography at the end of the 15th century. The graphic tradition and visual approach of this remarkable book persist as model up to now / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

À partir d’une lecture d’écrits publiés et inédits de Vincenzo Borghini (1515-1580), cette thèse s’interroge sur le rôle que ce moine bénédictin florentin joua dans la politique culturelle des Médicis, et plus particulièrement sur la manière dont il concilia érudition et conscience politique, passion pour l'art et respect des nouvelles prescriptions de l’Église, élitisme culturel et diffusion des savoirs. La pratique historiographique avait un rôle d’importance alors que le duc Côme Ier ambitionnait de consolider le rôle politique de la Toscane en Italie et parmi les grandes puissances européennes par l’obtention du titre de grand-duc. Après avoir espéré que l’Empereur lui en accorderait la couronne, il se tourna vers la papauté. Pris entre de tels enjeux, Borghini, conseiller du prince aux fonctions multiples, oeuvra de manière aussi efficace que complexe. Sa pratique de l’histoire, familiarisée avec la tradition, mais fondée sur des méthodes d’approches nouvelles, évolua en adéquation avec ce qu’il nommait les «circustanze de’ tempi di parte». Les jeunes années de Borghini permettent de comprendre le rôle de premier plan qu’il tint auprès de la cour ducale. Ses études sur l’histoire s’enracinent dans ses années de formation et sa rencontre avec des personnalités comme Vettori et Vasari. Il donnera à ce dernier des conseils fondamentaux pour la conception des Vite. Les années 1560 sont celles d’une nouvelle pratique : Borghini fut l’un des principaux responsables des traités descriptifs des grands apparats dont il avait au préalable été le concepteur en tant qu’auteur des programmes iconographiques. Pour leur rôle dans la construction d’une mémoire collective de la Toscane, ces textes peuvent être considérés comme une forme de micro-histoire. Les années 1570 sont celles du passage de la micro-histoire des descriptions d’apparats à la rédaction et à la correction de traités d’histoire universelle. L’enjeu politique n’est alors plus l’obtention du titre de grand-duc mais sa légitimation. Les recherches historiques de Borghini permettent de synthétiser toutes ses activités au service des Médicis : il n’eut de cesse de se servir de l’Histoire du passé pour célébrer la Toscane du présent, qui, au-delà des Médicis, était son ultime objectif. / Stemming from published and unbublished writings of Vincenzo Borghini (1515-1580), this Dissertation questions the role Florentine Benedictine friar Vincenzo Borghini (1515-1580) played in the cultural policies of the Medici, particularly the way he reconciled erudition and political consciousness, his passion for art and his respect for the new Church prescriptions. The use of History was important at a time when Cosimo was trying to strengthen the political clout of Tuscany, in Italy and among great European powers, by obtaining the grand-duke crown. Having hoped, in vain, that the Emperor would grant him this title, he turned to the papacy. In the face of such stakes, the role of Borghini, a man with multiple hats, was a complex one. The way he made use of history evolved in conjunction with what he called the «circustanze de’ tempi di parte». Borghini's young years help us understand the essential position he occupied within the ducal court. His approach to history finds its roots in his formative years and his acquaintance with prominent people like Vettori and Vasari. He provided the latter with fundamental advice for the theoretical conception of the Vite. The 60s were testament to a new approach: Borghini was, with a few others, in charge of writing up the treaty describing the great pageants he himself had originally devised. Given their role in the elaboration of an oriented memory, those texts can be considered to be a kind of kind of micro-history. The 70s showed the transition from the micro-history of descriptions of the pageants to writing and correcting treaty dealing with universal history. Obtaining the the title of Grand duke is not any more politically at stake; what matters now is making sure it is legitimized. Borghini's historical research synthesizes all the activities he carried out while serving the Medici family. He endeavored to use past history to celebrate Tuscany's present, which, above and beyond the Medici, was his ultimate aim.

Leon Battista Alberti's church of Sant' Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti's corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant?Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti?s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a 'sensitive suitability' between parts. The analysis of the triumphal arch motif of Sant?Andrea suggests that formalism has played a more important role in Alberti's design for this church than previously believed. This is by the motif's rigorous outline changing between the interior nave and the exterior fa??ade according to the observer's different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the fa??ade, seeks familiarity with the city's surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant' Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations.

Il primo capitolo si occupa degli aspetti culturali e letterari della Milano di inizio Seicento, in particolare attraverso lo studio dello sviluppo del 'genere poema' e il confronto di due opere, pubblicate nel 1611 dallo stesso stampatore Giacomo Como: La risorgente Roma di Giovan Ambrogio Biffi e L'Armidoro del poeta veneziano Giovanni Soranzo. Entrambi gli autori ebbero come patrono il conte di Sale Francesco d'Adda, mecenate, pittore dilettante e cavaliere, dedito all'organizzazione di tornei. Questo tipo di intrattenimento, molto diffuso nelle corti italiane del periodo, è argomento del secondo capitolo. dalla lettura delle cronache sulle giostre allestite a Milano tra il 1605 e il 1606 per festeggiare i natali del delfino di Spagna, cui partecipò lo stesso conte di Sale, sappiamo che il personaggio di Armidoro, cantato nei loro versi sia da Biffi che da Soranzo, altri non è che lo stesso Francesco d'Adda. abbiamo scoperto anche che tra le fonti del poema di Soranzo vi sono le relazioni del matrimonio delle infante di Savoia (1608) e il testo del Balletto delle ingrate del Rinuccini, composto per l'evento, musicato da Claudio Monteverdi. Il terzo capitolo consiste nell'analisi del poema di Soranzo, di circa 36.500 versi, che trae ispirazione dai modelli di Ariosto e Tasso, ma per certi aspetti si mostra in sintonia con le nuove mode poetiche del secolo barocco. / The first chapter deals with cultural and literary aspects of Milan at the beginning of XVII century, through the confrontation of two poems, published in 1611 by the same editor Giacomo Como: the Risorgente Roma of the Milanese author Giovan Ambrogio Biffi and the Armidoro, wrote by the Venetian poet Giovanni Soranzo. Both Biffi and Soranzo were protected from Francesco d'Adda, earl of Sale's county, patron of artists, amateur painter and knight, who delighted in organizing tournaments. This kind of entertainment, very frequent in the Italian courts of that period, is argument of the second chapter. After the reading of chronicles about chivalrous performances, played in Milan by count of Sale from 1605 till 1606 to celebrate the birth of Spanish prince, we know that Armidoro is the mask of Francesco d'Adda. At the same time we detected many important sources of the Soranzo's poem: the commentaries of Federico Follino and Pompeo Brambilla on the marriage between Francesco Gonzaga and Margherita di Savoia (1608), and the Ingrate's ballet of Ottavio Rinuccini, performed in that occasion with music of Claudio Monteverdi. The third chapter consists on analysis of Armidoro, the poem of about 36.500 lines that Soranzo wrote in competition with Ariosto's Orlando furioso and Tasso's Gerusalemme liberata.

Enzo Cucchi--Martin Disler--Sandro Chia--A.R. Penck (Ralph Winkler)--Rolf Winnewisser--Jonathan Borofsky Francesco Clemente--John Baldessari--Eric Fischl. / English and German. Includes bibliographical references.

Leon Battista Alberti's church of Sant' Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti's corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant?Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti?s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a 'sensitive suitability' between parts. The analysis of the triumphal arch motif of Sant?Andrea suggests that formalism has played a more important role in Alberti's design for this church than previously believed. This is by the motif's rigorous outline changing between the interior nave and the exterior fa??ade according to the observer's different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the fa??ade, seeks familiarity with the city's surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant' Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations.

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T07:29:18Z (GMT). No. of bitstreams: 1 Accorsi_RobertoAparecidoZaniquelli_M.pdf: 7996410 bytes, checksum: 5ec8b451dc3d6a8db56e7f8da4cacddc (MD5) Previous issue date: 2011 / Resumo: Sebastiano Ricci tornou-se um pintor de especiais e particulares ações nos mercados de artes de Veneza e da Inglaterra, durante o século XVIII. Ele soube agir como artista e negociador e conseguiu relacionar-se com os principais mecenas do período, em especial com dois dos mais importantes difusores da sua arte: Joseph Smith, Cônsul inglês, e Francesco Algarotti, Conde veneziano - ambos ligados ao processo de difusão e discussão dos princípios racionais associados ao iluminismo europeu. Em cartas enviadas e recebidas pelo artista, e por alguns de seus mecenas, nota-se uma variada abordagem dos meios de compra e venda de obras e arte. As cartas também revelam uma valorização ou redescoberta dos modos e temas da arte de Paolo Veronese, reconhecíveis na obra de Sebastiano Ricci intitulada Arquimedes se recusa a seguir o soldado, pertencente a Fundação Cultural Ema Gordon Klabin, de São Paulo / Abstract: Sebastiano Ricci became a painter of special and private actions around the market of arts from Venice and England, during the XVIII century. He has known how to act as an artist and a negotiator and could relate himself with the main Maecenas of this period, especially with two of the most importants diffusers of his art: Joseph Smith,British Consul, and Francesco Algarotti,Venetian Earl - both connected with the process of propagation and discussion of the rational principles associated with the European Enlightenment. Analyzing letters that were sent and received by the artist and for some of his maecenas, is possible to realize a variety of approach about sorts of arts marketing. These letters show a recovery or a rediscovery about modes and themes of Paolo Veronese's art which can be recognized in the work of Sebastiano Ricci entitled Arquimedes se recusa a seguir o soldado, that belongs to Fundação Cultural Ema Gordon Klabin / Mestrado / Historia da Arte / Mestre em História

The present dissertation deals with the relationship between democracy and agonism. It attempts to defend the idea that certain problematic aspects of contemporary liberal democracies are not due to their origin primarily in the change of social conditions (the massification of democracy, the growth of complexity in modern societies), that made the original democratic promises unrealizable, but in certain oblivion of the agon. The agon is understood as a constitutive feature of democratic society and its oblivion is seen not to be accidental. To defend this proposition I focuse on an interpretation of the dialogue between populist republicanism (Machiavelli) and elitist republicanism (Guicciardini). This dialogue is usually understood as one of the sources of modern democratic tradition. I try to explain that in Machiavelli's political theory two notions of agonism are present - pragmatic agon that sees conflict as a basis of social cohesion and strategic agon that is described as a ferocious egalitarianism employed by the second class citizens in order to gain equality from the first class citizens. These two forms of agonism are explained to form the axis of Machiavelli's notion of the political and also of a free republic and democracy. Guicciardini's elitist republicanism is shown to stand in opposition...

Diploma thesis "St. Wenceslas Church in Žamberk" discusses the church monographically. Initially, it briefly introduces the city, its origin, estate owners and then chronologically from art-historical terms the most important foundations of building Bubnů of Litic. Afterwards we focus our attention on the church, its history and construction, parish building, description, and especially the valuable furniture. In this part the thesis deals with baroque altars and particularly the main altar canvas Assassination of St. Wenceslas by Francesco Trevisani. Attention is focused on the preliminary image, possible models and analogies with the older author's creations. Later, in order for the work to be complete, the focus goes shortly to the painted decorations of the church. Subsequently, the cemetery chapel, its historical development, baroque altars and the painted decorations as well. Finally, work presents in context the church builder and painters who created high quality altar canvases.